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Theater Listings for Sept. 6-12

The Two-Character Play Portraying strung-out sibling theater troupers in Tennessee Williams’s rarely seen fever dream of an eternal folie à deux, Amanda Plummer and Brad Dourif, above, don’t just strikes parks. They’re a raging conflagration that keeps changing form and direction. Gene David Kirk directs this revival of a demented, messy and oddly affecting self-portrait from an American master (2:10). New World Stages, 340 West 50th Street, Clinton, (212) 239-6200, telecharge.com. (Ben Brantley)Credit
Carol Rosegg

Approximate running times are in parentheses. Theaters are in Manhattan unless otherwise noted. Full reviews of current productions, additional listings, showtimes and ticket information are at nytimes.com/theater. A searchable, critical guide to theater is at nytimes.com/events.

Previews and Openings

‘All the Faces of the Moon’ (in previews; opens on Wednesday) Too late if you want to catch all 29 parts of this new piece by the monologuist Mike Daisey (“The Agony and the Ecstasy of Steve Jobs”), which he describes as delving into the secret history of New York. Each night of the current lunar cycle he’s performing new material, each night onstage with a different oil painting commissioned just for the show. Fear not: If you start on Friday, you can still see 28 of the bunch. Joe’s Pub, at the Public Theater, 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555, joespub.com. (David DeWitt)

‘Arguendo’ (previews start on Tuesday; opens on Sept. 24) After nearly seven hours of parsing American literature (in the acclaimed “Gatz”), Elevator Repair Service and the Public Theater can be forgiven for shifting their collective attention to something a little racier. Their latest collaboration focuses on a 1991 Supreme Court case over whether exotic dancers ran afoul of a law about public nudity. Elevator Repair Service’s reputation for bold visuals will come into play, but get your mind out of the gutter: the collaborator of note is the visual artist Ben Rubin, who is contributing animated text projections. Public Theater, 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555, publictheater.org. (Eric Grode)

‘Big Fish’ (in previews; opens on Oct. 6) Among the season’s more intriguing projects, this musicalization of the 2003 Tim Burton film — about a young man trying to sift through his father’s extremely unreliable stories — garnered rave reviews during its Chicago engagement this spring. Norbert Leo Butz, Kate Baldwin and Bobby Steggert lead the cast; Andrew Lippa (“The Addams Family”) wrote the music and lyrics; and Susan Stroman (who gave Mr. Butz his big break in “Thou Shalt Not”) is the director and choreographer. Neil Simon Theater, 250 West 52nd Street, (866) 870-2717, bigfishthemusical.com. (Grode)

‘Fetch Clay, Make Man’ (in previews; opens on Thursday) Pairing one of black America’s most beloved heroes (Cassius Clay, soon to be known as Muhammad Ali) with one of its most reviled performers (Lincoln Perry’s screen character Stepin Fetchit) may sound like the makings of a cheeky improv skit, but the two men actually became friends in the 1960s. Will Power (“The Seven”) builds his drama around this unlikely relationship; Des McAnuff (“Jersey Boys”) directs. New York Theater Workshop, 79 East Fourth Street, East Village, (212) 460-5475, nytw.org. (Grode)

‘The Film Society’ (previews start on Tuesday; opens on Oct. 1) The Keen Company has earned a reputation for salvaging nearly forgotten works by the likes of Thornton Wilder and Robert Anderson. Now it is focusing on someone a bit more contemporary: Jon Robin Baitz, who’s still going strong with plays like “Other Desert Cities.” His first New York revival, fittingly, is of his first play to be produced in New York, a 1988 drama set in a South African school for boys. The company’s artistic director, Jonathan Silverstein, will direct Euan Morton and Roberta Maxwell. Clurman Theater at Theater Row, 410 West 42nd Street, Clinton, (212) 239-6200, keencompany.org. (Grode)

‘The Glass Menagerie’ (in previews; opens on Sept. 26) This classic Tennessee Williams drama, lavishly honored and about as canonical an American work as they come, returns for its seventh Broadway run after opening there in 1945. This time the members of the Wingfield family are played by Cherry Jones, Celia Keenan-Bolger and Zachary Quinto, with Brian J. Smith as the Gentleman Caller. Booth Theater, 222 West 45th Street, (800) 432-7250, telecharge.com. (DeWitt)

‘I Can See Clearly Now (the Wheelchair on My Face)’ (previews start on Tuesday; opens on Sept. 17) Another year, another Edinburgh Fringe Festival award winner. This one, Sonya Kelly’s one-woman comedy about a girl with 20/900 eyesight who got by for years without glasses, won the prestigious Fringe First Award in 2012. Presented by the Dublin company Fishamble, it is part of this year’s 1st Irish festival. 59E59 Theaters, 59 East 59th Street, (212) 279-4200, 59e59.org. (Grode)

‘The Machine’ (opens on Friday) Chess is not the activity you might expect to command attention in the spacious Park Avenue Armory, but this play, by Matt Charman and staged by Josie Rourke of the Donmar Warehouse in London, challenges that thought. It tells of Garry Kasparov’s famed 1997 match in New York against Deep Blue, the IBM supercomputer. Park Avenue Armory, 643 Park Avenue, at 67th Street, (212) 616-3930, armoryonpark.org. (DeWitt)

‘Mr. Burns, a Post-Electric Play’ (in previews; opens on Sept. 15) The end of civilization has been on artists’ minds lately, and now the adventurous Civilians have joined the post-apocalyptic parade. In this new play by Anne Washburn, one random episode of “The Simpsons” is the last remnant of Western culture. If the all-star downtown cast (which includes Quincy Tyler Bernstine, Matthew Maher and Jennifer R. Morris) and subject matter aren’t enough of a draw, there’s also a new score by Michael Friedman (“Love’s Labour’s Lost”). Playwrights Horizons, 416 West 42nd Street, Clinton, (212) 279-4200, ticketcentral.com. (Grode)

‘The Old Friends’ (in previews; opens on Thursday) The Signature Theater’s devotion to Horton Foote continues with the premiere of this drama by Foote, who died in 2009 and whose late-career success was fueled in no small part by the Signature’s season of his works in 1994. Michael Wilson (“The Trip to Bountiful”) directs two fellow Foote veterans, Lois Smith and Horton’s daughter Hallie Foote, as well as Betty Buckley in this play about an uneasy meeting between two Texas farming families. Signature Center, 480 West 42nd Street, Clinton, (212) 244-7529, signaturetheatre.org. (Grode)

‘Philip Goes Forth’ (in previews; opens on Sept. 22) George Kelly wrote several timeless comedies in the 1920s, including “The Show-Off” and “The Torch Bearers,” but the mixed reviews he received for this 1931 work put him off playwriting for five years. If anyone is equipped to make the case for this gently satirical play, about an aspiring young playwright with more ambition than talent, it is the Mint Theater, which is giving “Philip Goes Forth” its first New York City revival. Mint Theater, 311 West 43rd Street, Clinton, (866) 811-4111, minttheater.org. (Grode)

‘The Recommendation’ (opens on Friday) An old friendship gets a jolt when the popular, plugged-in Aaron Feldman is pulled over for a broken taillight and his friend, the unconnected Iskinder Iudoku, has the advantage. This is the most prominent staging to date for Jonathan Caren, who won a playwriting award for the piece when it had its premiere last year at the Old Globe in San Diego. Flea Theater, 41 White Street, TriBeCa, (212) 352-3101, theflea.org. (Grode)

‘Romeo and Juliet’ (in previews; opens on Sept. 19) Despite being maybe the best-known romance in the history of Western theater, “Romeo and Juliet” has not been performed on Broadway in more than 35 years. Stepping in to fill the breach are Condola Rashad, fresh off “The Trip to Bountiful,” and the relative stage neophyte Orlando Bloom. (Sadly, this production is set in modern times, so the sword skills Mr. Bloom honed for the “Lord of the Rings” and “Pirates of the Caribbean” films will most likely go unused here.) David Leveaux has surrounded his young stars with seasoned stage veterans like Brent Carver, Chuck Cooper and Jayne Houdyshell. Richard Rodgers Theater, 226 West 46th Street, (800) 745-3000, ticketmaster.com. (Grode)

‘stop. reset.’ (in previews; opens on Sunday) The future of the written word is very much on the minds of the employees of a Chicago publishing house in this new play written and directed by Regina Taylor (“Crowns”). In the course of trying to find an answer, the company’s owner meets what the press materials describe as “a mysterious youth plugged into the future,” which seems like a pretty good description of young people in general these days. Signature Center, 480 West 42nd Street, Clinton, (212) 244-7529, signaturetheatre.org. (Grode)

‘A User’s Guide to Hell, Featuring Bernard Madoff’ (in previews; opens on Saturday) Hell really is other people for the titular Ponzi schemer, among them Josef Mengele and Mohammed Atta, in this black comedy by the versatile Lee Blessing (“A Walk in the Woods,” “Down the Road”). But it also looks a lot like New York City. Atlantic Stage 2, 330 West 16th Street, Chelsea, (212) 352-3101, projectytheatre.org. (Grode)

‘Women or Nothing’ (in previews; opens on Sept. 16) The Atlantic Theater has had several hits with batches of one-act plays by Ethan Coen (who, with Joel, is part of the Academy Award-winning Coen brothers tandem), and now Mr. Coen has written his first full-length work for the company. It’s about two women who are eager to have a baby — so eager that they might even be willing to sleep with a man to get one. David Cromer directs Susan Pourfar, one of his stars from “Tribes,” as one half of the couple, along with Halley Feiffer. Linda Gross Theater, 336 West 20th Street, Chelsea, (866) 811-4111, atlantictheater.org. (Grode)

‘You Never Can Tell’ (in previews; opens on Sept. 15) George Bernard Shaw wrote this play after “Mrs. Warren’s Profession,” so he’d already been known for giving his women articulate wit and their own spark of divine fire. Here such women include Mrs. Clandon, a feminist author who’s returned her family to England, and her two grown daughters. Pearl Theater, 555 West 42nd Street, Clinton, (212) 563-9261, pearltheatre.org. (DeWitt)

Broadway

‘Annie’ James Lapine’s revival of the singing comic strip from 1977 is merely serviceable. But its smiley-faced mixture of hope and corn scratches an itch in a city recovering from a recession and a hurricane. Theatergoers may occasionally feel the urge both to mist up and throw up, but Lilla Crawford is a nigh irresistible Orphan Annie. With Anthony Warlow and Faith Prince as Miss Hannigan (2:25). Palace Theater, 1564 Broadway, at 47th Street, (877) 250-2929, ticketmaster.com. (Ben Brantley)

‘First Date’ The winning Zachary Levi and Krysta Rodriguez star in this cliché-ridden romantic comedy, with a book by Austin Winsberg and a score by Alan Zachary and Michael Weiner. Mr. Levi is the nice Jewish boy who’s had his heart kicked around, Ms. Rodriguez a boho chick with lots of experience. They’re all wrong for each other, right? Sorry, but no prizes will be given for guessing how this familiar story ends (1:30). Longacre Theater, 220 West 48th Street, (212) 239-6200, telecharge.com. (Charles Isherwood)

★ ‘Kinky Boots’ Cyndi Lauper has created a love-and-heat-seeking score that performs like a pop star on Ecstasy. This Harvey Fierstein-scripted tale of lost souls in shoe business, in which a young factory owner (Stark Sands) teams up with a drag queen (Billy Porter), sometimes turns into a sermon. But it’s hard to resist the audience-hugging charisma of the songs (2:20). Al Hirschfeld Theater, 302 West 45th Street, Clinton, (212) 239-6200, telecharge.com. (Brantley)

★ ‘Matilda the Musical’ The most satisfying and subversive musical ever to come out of Britain. Directed by Matthew Warchus, with a book by Dennis Kelly and addictive songs by Tim Minchin, this adaptation of Roald Dahl’s novel is an exhilarating tale of empowerment, told from the perspective of that most powerless group, little children (2:35). Shubert Theater, 225 West 44th Street, (212) 239-6200, telecharge.com. (Brantley)

‘Motown: The Musical’ A dramatically slapdash but musically vibrant joy ride through the glory days of the Detroit music label founded by Berry Gordy. Mr. Gordy’s book is sketchy and obvious — you want to plug your ears whenever the music stops. But the music is, of course, some of the greatest R&B ever recorded, and the performers mostly electric (2:40). Lunt-Fontanne Theater, 205 West 46th Street, (877) 250-2929, ticketmaster.com. (Isherwood)

‘Pippin’ Diane Paulus sends in the acrobats for her exhaustingly energetic revival of Stephen Schwartz and Roger O. Hirson’s 1972 musical. As for the 99-pound story at the center of this muscle-bound spectacle — the one about the starry-eyed son of Charlemagne (Matthew James Thomas) — that’s there too, if you look hard. With Patina Miller and a delightful Andrea Martin (2:35). Music Box Theater, 239 West 45th Street, (212) 239-6200, telecharge.com. (Brantley)

‘Rodgers & Hammerstein’s Cinderella’ This ultimate and most enduring of makeover stories, via the team who gave us “Oklahoma!,” has been restyled by the director Mark Brokaw and the writer Douglas Carter Beane into a glittery patchwork of snark and sincerity, with a whole lot of fancy ball gowns. Laura Osnes and Santino Fontana are the appealing leading lovers (2:20). Broadway Theater, 1681 Broadway, at 53rd Street, (212) 239-6200, telecharge.com. (Brantley)

‘Soul Doctor’ The story of Shlomo Carlebach (Eric Anderson), the folk-singing rabbi who made a splash in the 1960s (and befriended Nina Simone, played by the elegant Amber Iman), makes for an odd and mostly hackneyed musical, despite the use of his often lovely music, set to overly drippy lyrics by David Schechter and a similar book by the director, Daniel S. Wise (2:30). Circle in the Square Theater, 1633 Broadway, at 50th Street, (800) 432-7780, telecharge.com. (Isherwood)

‘The Trip to Bountiful’ Michael Wilson’s slow-handed staging of Horton Foote’s 1953 drama about an old woman’s journey into the past is most notable for its remarkable star, Cicely Tyson, who seems thoroughly rejuvenated by her return to Broadway. The supporting cast includes Vanessa Williams, Leon Addison Brown and Adepero Oduye (2:10). Stephen Sondheim Theater, 124 West 43rd Street, (212) 239-6200, telecharge.com. (Brantley)

Off Broadway

‘Around the World in 80 Days’ This stage version of the Jules Verne novel is an odd combination of steampunk and vaudeville. The actors’ shameless mugging grows annoying after a while, but the pace stays brisk and the energy level high (2:00). New Theater at 45th Street, 354 West 45th Street, Clinton, (212) 239-6200, aroundtheworldinnyc.com. (Neil Genzlinger)

‘Bill W. and Dr. Bob’ Making the story of the founding of Alcoholics Anonymous 99 percent preachiness-free is quite an accomplishment. Samuel Shem and Janet Surrey’s purpose-driven script, which never forgets the humor of the human experience, goes a long way toward making this a satisfying revival (2:15). SoHo Playhouse, 15 Van Dam Street, South Village, (866) 811-4111, billwanddrbob.com. (Anita Gates)

★ ‘Breakfast With Mugabe’ To his critics in the West, the Zimbabwean president Robert Mugabe is an election-rigger, a thug who uses past victimhood to justify further oppression. To Dr. Peric, a white psychiatrist, he is just another patient. That is the premise of Fraser Grace’s trenchant, magnificently acted play, inspired by news reports that Mr. Mugabe did seek counsel from a white psychiatrist despite his lifelong image as one opposed to white authority figures. What follows is less a cooperative, therapeutic relationship than an unwinking power struggle (1:30). Alice Griffin Jewel Box Theater, 480 West 42nd Street, Clinton, (212) 279-4200, breakfastwithmugabe.com. (Catherine Rampell)

★ ‘Buyer & Cellar’ Jonathan Tolins has concocted an irresistible one-man play from the most peculiar of fictitious premises — an underemployed Los Angeles actor goes to work in Barbra Streisand’s Malibu, Calif., basement — allowing the playwright to ruminate with delicious wit and perspicacity on the solitude of celebrity, the love-hate attraction between gay men and divas, and the melancholy that lurks beneath narcissism. In the capable hands of the director Stephen Brackett and the wickedly charming actor Michael Urie, this seriously funny slice of absurdist whimsy creates the illusion of a stage filled with multiple people, all of them with their own droll point of view (1:30). Barrow Street Theater, 27 Barrow Street, at Seventh Avenue South, West Village, (212) 868-4444, smarttix.com. (David Rooney)

‘The Cheaters Club’ The latest from the Amoralists is a murky swamp of a gothic drama, (over) written and directed by Derek Ahonen, about New York siblings who head south for a weekend of adultery and find themselves involved in spooky doings in ghost-ridden Savannah, Ga. (2:30). Abrons Arts Center, 466 Grand Street, at Pitt Street, Lower East Side, (866) 811-4111, theamoralists.com. (Isherwood)

‘Cougar the Musical’ Three older women find themselves attracted to younger men, two against their better judgment. The concept seems made for bus tours, but imagination, appealing numbers with original melodies and theme-transcending jokes lift this show well above the level of “Menopause: The Musical” and its ilk (1:30). Fridays and Saturdays only. St. Luke’s Theater, 308 West 46th Street, Clinton, (212) 239-6200, telecharge.com. (Gates)

‘Cuff Me: The Fifty Shades of Grey Musical Parody’ What can I possibly say that isn’t said by the title of this production? Here’s one thing: It’s not exactly great theater, but I’d still rather see “Cuff Me” than read the novel upon which it’s based (1:30). Actors Temple Theater, 339 West 47th Street, Clinton, (212) 239-6200, telecharge.com. (Claudia La Rocco)

‘It’s Just Sex’ Jeff Gould’s lightweight comedy, a long-running hit in Los Angeles, is about three married couples whose party turns into an evening of spouse-swapping and postcoital navel-gazing (metaphorically). The cast is personable, but the script’s only deep thought is that if women were told they could talk only to one person for the rest of their lives, they would understand why sexual fidelity is so stifling for men (1:30). Actors Temple Theater, 339 West 47th Street, Clinton, (212) 239-6200, telecharge.com. (Gates)

‘Me and Jezebel’ Kelly Moore (that’s Mr. Kelly Moore) is great fun to watch as Bette Davis in Elizabeth Fuller’s real-life “Man Who Came to Dinner” story. Too bad Ms. Fuller, who plays herself, isn’t really an actress. This comedy about a movie star taking over the guest room and the lives of a Connecticut family one month in 1985 is admirably self-deprecating (1:45). Snapple Theater Center, 210 West 50th Street, (212) 921-7862, ticketmaster.com. (Gates)

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★ ‘Peter and the Starcatcher’ The most exhilarating and inventive example of story theater since the Royal Shakespeare Company’s “Life and Adventures of Nicholas Nickleby.” This production, about the boy who became Peter Pan, is an enchanted anatomy of the urge to defy gravity. Roger Rees and Alex Timbers direct (2:10). New World Stages, 340 West 50th Street, Clinton, (212) 239-6200, telecharge.com. (Brantley)

★ ‘The Two-Character Play’ Playing strung-out sibling theater troupers in Tennessee Williams’s rarely seen fever dream of an eternal folie à deux, Amanda Plummer and Brad Dourif don’t just strike sparks. They’re a raging conflagration that keeps changing form and direction. Gene David Kirk directs this revival of a demented, messy and oddly affecting self-portrait from an American master (2:10). New World Stages, 340 West 50th Street, Clinton, (212) 239-6200, telecharge.com. (Brantley)

‘Unbroken Circle’ Eve Plumb, a k a Jan of “The Brady Bunch,” demonstrates a flair for grown-up comedy as a born-again Christian with drinking and divorce habits in James Wesley’s comic drama. Too bad the production is uncertainly paced and a little unpolished, because this story of a 1970s Texas family dealing with the death of an abusive patriarch has a lot going for it (1:50). St. Luke’s Theater, 308 West 46th Street, Clinton, (212) 239-6200, telecharge.com. (Gates)

★ ‘The Weir’ This first-rate revival of Conor McPherson’s play gathers a group of friends as they tell ghost stories to drive away a loneliness than can be even more frightening (1:30). Irish Repertory Theater, 132 West 22nd Street, Chelsea, (212) 727-2737, irishrep.org. (Ken Jaworowski)

Off Off Broadway

‘Avi Hoffman’s Still Jewish After All These Years’ Avi Hoffman’s 75 minutes of songs and reminiscences is sometimes no more than warm and cabaret-cozy, but it has its moments, like a powerful performance of “Brother, Can You Spare a Dime?” and a lovely tribute to his father (1:30). Stage 72, 158 West 72nd Street, (800) 838-3006, stage72.com. (Gates)

★ ‘Then She Fell’ Inspired by Lewis Carroll’s “Alice” books, this transporting immersive theater work occupies a dreamscape where the judgments and classifications of the waking mind are suspended. A guided tour of Wonderland, created by Third Rail Projects, leads its participants through a series of rooms and an interactive evening of dance, poetry, food and drink (2:00). The Kingsland Ward at St. John’s, 195 Maujer Street, near Humboldt Street, Williamsburg, Brooklyn, (718) 374-5196, thenshefell.com. (Brantley)

‘Totally Tubular Time Machine’ This show is less a play or musical than a big, campy, drinking party, with a little bit of singing thrown in. Held at an ’_80s-theme dance club in Midtown, it features celebrity impersonators who wander through the crowd handing out party favors (lollipops from Katy Perry, trucker hats from Justin Bieber) and taking turns at karaoke. The impersonations come with varying degrees of similitude and singing talent (2:00). Saturdays only. Culture Club, 20 West 39th Street, (212) 921-1999, totallytubularnyc.com. (Rampell)

★ ‘The Vaudevillians’ The drag performer Jinkx Monsoon (real name: Jerick Hoffer) and her accompanist, Major Scales (Richard Andriessen), turn a simple conceit into a hilarious evening. They are vaudeville performers who were frozen in an avalanche in the 1920s. Thawed out in the present, they find that many of their songs — “I Will Survive,” for instance — have been repurposed by more recent performers. They reclaim them, vaudeville style (1:25). Laurie Beechman Theater at the West Bank Cafe, 407 West 42nd Street, Clinton, (212) 352-3101, SpinCycleNYC.com. (Genzlinger)

‘The Berenstain Bears Live! In Family Matters, the Musical’ This adaptation of three of Stan and Jan Berenstain’s children’s books is pleasant enough, but the cubs are showing their age. Saturday and Sunday only (:55). Marjorie S. Deane Little Theater, 5 West 63rd Street, (866) 811-4111, berenstainbearslive.com.

‘The Awake’ (closes on Sunday) Ken Urban’s extraordinarily ambitious and intricate play follows three characters and their intersecting lives, dreams and nightmares, which often are performed in counterpoint. It’s easy to be skeptical about plots structured around dreams and hallucinations, so often hallmarks of lazy writing. But Mr. Urban embraces dreams as a stylized way to tell his characters’ stories, not to rescue a runaway plot. Voices and story lines converge and diverge like an elaborately mixed song, bringing to mind Walter Pater’s famous dictum that all art aspires toward the condition of music, a fusion of form and subject matter (1:30). 59E59 Theaters, 59 East 59th Street, (212) 279-4200, ticketcentral.com. (Rampell)

‘Awake & Sing!’ (closes on Sunday) The National Asian American Theater Company’s low-budget production of this 1935 Clifford Odets play about a Jewish family struggling through the Depression makes its statement eloquently. The humanity of frightened, imperfect people facing difficulties transcends ethnicity (2:10). Walkerspace, 46 Walker Street, TriBeCa, (866) 811-4111, naatco.org. (Gates)

‘Harbor’ (closes on Sunday) Family and children are on the playwright Chad Beguelin’s mind in this comedy about a gay couple and the manipulative sister who came to stay. “Harbor” doesn’t quite succeed as social satire — the humor often feels overfamiliar and the sister’s quips about gayness start to grate the audience as well as their intended targets. But the play, a Primary Stages production, does better as a study of characters realigning family loyalties in a changing world (2:00). 59E59 Theaters, 59 East 59th Street, (212) 279-4200, primarystages.org. (Rachel Saltz)

‘Wanda’s Monster’ (closes on Sunday) Making Books Sing, which turns children’s books into musicals, has adapted Eileen Spinelli’s 2002 picture book about Wanda, a little girl who knows that a monster lives in her closet. Barbara Zinn Krieger, who wrote the script, has transformed Wanda’s Granny — the only adult who acknowledges the truth of Wanda’s perception — from a sensible soul into a kick-out-the-jams rocker. This characterization works beautifully with the show’s upbeat score and lyrics by the children’s pop star Laurie Berkner. This charming production brings home a point worth considering at any age: embrace what you fear, and you just may find a friend (1:00). Vineyard Theater, 109 East 15th Street, (646) 601-1406, wandasmonster.com. (Laurel Graeber)